Maurice-Alexis Jarre was a French composer and conductor.
Jarre composed the scores to all of Lean's films since Lawrence of Arabia (1962). Other notable scores include The Train (1964), Mohammad, Messenger of God (1976), Witness (1985) and Ghost (1990).
Jarre was awarded a star on the Hollywood Walk of Fame.Three of his compositions spent a total of 42 weeks on the UK singles chart; the biggest hit was "Somewhere My Love" (to his tune "Lara's Theme", with lyrics by Paul Francis Webster) by the Michael Sammes Singers, which reached Number 14 in 1966 and spent 38 weeks on the chart.
Jarre was a three time Academy Award winner, for Lawrence of Arabia (1962), Doctor Zhivago (1965), and A Passage to India (1984), all of which were directed by David Lean. He was Oscar nominated a total of eight times.

Jean Michel André Jarre is a French composer, performer and music producer. He is a pioneer in the electronic, ambient and New Age genres, and known as an organiser of outdoor spectacles of his music featuring lights, laser displays, and fireworks.

Multifaceted artist, not only recording artist, creator and performer of unique outdoor concerts, Jean Michel Jarre is also composer and lyricist of mile-stone hits in his native France and composer of international movie soundtracks. He is also the first composer to introduce electronic music into the sanctuary of the Paris Opera House, with the ballet AOR in 1971. Between 1968 and 1972, after having worked with Pierre Schaeffer in the GRM (Group for Musical Research), he also composes and produces a series of electronic music pieces like The Cage, Deserted Palace…
His first mainstream success was the 1976 album Oxygène. Recorded in a makeshift studio at his home, the album sold an estimated 12 million copies. Oxygène was followed in 1978 by Équinoxe, and in 1979 Jarre performed to a record-breaking audience of more than a million people at the Place de la Concorde, a record he has since broken three times. More albums were to follow, but his 1979 concert served as a blueprint for his future performances around the world. Several of his albums have been released to coincide with large-scale outdoor events, and he is now perhaps as well known as a performer as a musician.

As of 2004 Jarre had sold an estimated 80 million albums. He was the first Western musician to be allowed to perform in the People's Republic of China, and holds the world record for the largest-ever audience at an outdoor event.

Born in 1977, son of British actress Charlotte Rampling and French musician Jean-Michel Jarre. After a 10 years career as a magician, David Jarre is now a member of the duet The Two / David Jarre and Ara Starck .

In Paris, both Starck and Jarre are considered celebrities by birth.

Starck is the daughter of modernist designer Philippe Starck who has crafted chairs with stiletto heels and orange juicers that seem to defy gravity.

There is a lot of 60s British folk and acoustic pop influences in the music of “The Two” : Donovan, Nick Drake and a bit of Vashti Bunyan.

Starck and Jarre are darlings in France, but they are hoping to find the same sort of love in the US.

AeroSkull packs two 15-Watt speakers behind “sunglasses,” and a
40-Watt sub woofer in the “brains” of this skull-shaped Apple dock
connector. Designed by French composer Jean Michel Jarre,
the speaker system offers optimal sound quality, as well as one percent
THD (Total Harmonic Distortion).

Jean Michel Jarre first used the image
of the skull in 1976 on the album cover for Oxygene.

“For me, the skull symbolizes the perfect acoustic instrument ­ it is the sound box for word, song and music,” Jarre

The AeroSkull is compatible with every generation of iPhone and iPod.
A jack cable can connect to other MP3 players, PCs or CD/DVD
players. Bluetooth makes connecting to smartphones and cinch. And the
listening experience is optimized by the APTX codecs.

28/12/2012

The synthesizer maestro talks to Neil McCormick about his new tour - and his
painful relationship with his composer father.

Jean Michel Jarre wants to go back to the future. The French synthesizer
maestro arrives in the UK this weekend with his 2010 tour, named to evoke
the “hopes and dreams of my friend Arthur C Clarke”, author of the
science-fiction classic 2001: A Space Odyssey.

“We have lost our vision for the future,” says Jarre, his strong accent
lending a romantic flair to his every pronouncement. “Before, we say,
'Nothing will be the same, cars will fly and we go to the end of the
universe’, we have this kind of naïve but exciting idea of the future. Now
the vision has been reduced to ways to select our garbage, and how to
survive global warming.

“Suddenly, we are putting ourselves as the next dinosaurs. It’s rather dark;
we have narrowed our dreams. It is time to restore our visions. And so it’s
not a nostalgic idea; it is based with this unconscious need to restore a
kind of dynamic for tomorrow.”

With long, flowing black hair and matinee-idol looks apparently suspended in
time (he is 62), Jarre has the charismatic presence of a rock star but talks
with the excitability and intellectual intensity of an eccentric professor.

“This kind of mad-scientist approach, I like very much,” he says and
enthusiastically shows me a pair of glasses with cameras mounted on them,
which he wears on stage so that audiences can see what it is like from his
perspective, “surrounded by 71 instruments, machines that are part of the
legend and mythology of electronic music”.

Once the poster boy for Seventies electronica, Jarre is now a kind of elder
statesman of the first synthesizer generation. For what is actually his
first world tour of arenas (Jarre has previously concentrated on mounting
one-off spectaculars), he has forsaken digital technology in favour of using
original analogue instruments.

“There is such warmth, such depth, that we have lost somehow,” he says. “These
instruments are quite special in the history of music. They just disappeared
at the beginning of the Eighties when the Japanese created the DX7 and also
with the explosion of the development of computers. These instruments didn’t
even have the chance to become adults and occupy the future.

“So I want to be in a total live situation, with no computers on stage,
exposing myself to accidents because these instruments were not necessarily
made for performance. The challenge is that every concert should be
different, something special.” There is something intriguingly paradoxical
about the notion that electronic music, once so determinedly futuristic, has
begun to venerate the retro sounds of the original synths. Yet Jarre always
stood in opposition to the kind of cold, dystopian futurism of most early
electronica. “I remember Stockhausen, when I was studying with him for a few
months, saying, 'All that is close to emotion in music is suspect.’ Which is
absolutely crazy. Emotions are the basics of any art form!”

The son of film composer Maurice Jarre, he studied at the Paris Conservatoire,
where he came under the influence of “musique concrete” pioneer Pierre
Schaeffer in the Sixties. “For the first time someone said, 'OK, music is
not only made of notes; it is made of sounds, and all kinds of noises can
become music. This simple idea changed music of the second half of the 20th
century.”

After years of writing film music, advertising jingles, ballet scores and pop
songs for other artists, Jarre recorded his groundbreaking electronic
composition Oxygene in 1976. Buoyed by multi-million global sales, Jarre
became known for mounting huge audio-visual spectacles with fireworks,
lighting and lasers.

The populist nature of such events and dramatic qualities of his music led to
his work being dismissed as a kind of symphonic pomp-rock vulgarisation of
the electronic experiments being carried out by the likes of Kraftwerk or
Philip Glass. His marriages to strikingly beautiful actresses, Charlotte
Rampling (whom he was with for 20 years) and Anne Parillaud (whom he married
in 2005) have helped maintain an image of showbiz glamour somehow at odds
with the aestheticism of experimental music. Yet the warmer tones of the
electronic explosion in techno and ambient music of the Nineties began to
make Jarre look increasingly prescient and influential.

“For me, electronic music is like cooking: it’s a sensual organic activity
where you can mix ingredients. It is the reason I still have this intact
thrill, it’s almost sexual somehow, not cold at all.”
He equates this with the tactility of analogue synthesizers. “With the
computer screen, you have a kind of abstract interface between your idea and
the audio result. With analogue instruments, you have the direct
interactivity between the sound and your hands. I think the future of music
will involve cross pollination between analogue and digital.”

His retro futurism extends to a suspicion of the internet. “I think we’ve been
very naïve with the internet, thinking it’s a great community where we can
exchange and share ideas, and we are all holding hands in a very new hippie
type of mood. I predict the rebels of the next generation will get very
cautious. The cool thing in 10 or 15 years from now will be not being on the
internet because they will consider that the biggest marketing exploitation
machine ever.”

Jarre’s father, from whom he was almost completely estranged, died in 2009,
and his mother died this year. They separated when Jarre was five, and he
did not see his father again until he was 18, and rarely after that. This,
he has come to realise, has been a driving force of his artistic life. “I
never succeed to have a normal relationship with my dad. It’s a total
failure in my life. It was worse than a conflict, just an absence, which is
actually indifference because you have this open hole in your heart. It’s
very difficult to fill it.

“I think that music or art or performance is a kind of remedy or therapy,
probably more effective than psychoanalysis. Live performance helped me to
survive, just to get on and do this.”

Jarre says he is perpetually unsatisfied with his work. “I more and more think
if an artist has something to say, he is saying always the same thing, all
his life, trying desperately to improve what he has as his own ideal. I have
this kind of dream of trying to get the emotions you have in classical music
or in jazz, where you have a kind of soundscape, getting rid of the
narrative concept. You are inviting people to create something in their
mind, which is quite difficult to achieve.

“When I listen to Oxygene, I know there is something quite interesting. And
part of this is the kind of innocence and unconsciousness that you have when
you are for the first time encountering your audience. We were really
privileged, my generation, of opening doors on virgin territories, just
because nothing was existing behind.”

The '2010’ tour starts in Glasgow on Sunday, then visits Dublin, Cardiff,
Birmingham, Manchester and London.

French composer and musician Jean Michel Jarre will host the 4th IFPI
Platinum Europe Award honouring artists who achieve sales of one
million
recordings in Europe. Top artists from all over Europe will
attend the prestigious biennial music Award on Wednesday, 10th July, at
Hotel Le Plaza in
Brussels.

Jean Michel Jarre said:
"I am delighted to come back to
Brussels for the fourth time for the IFPI Platinum Europe Award.
Platinum Europe is a unique
event that shows the very best that European music has to
offer."

IFPI is also pleased to announce Music Control, the leading
European broadcast music monitoring service, as its first ever sponsor
of the Award.

Performing live onstage at the event will be the British
R&B band Blue who achieved Platinum status with their recent debut
album, "All Rise".
Finnish dance group Bomfunk MCs will also perform their
pan-European hit "Freestyler" at the event. In the first award of its
kind for a single,
Bomfunk MCs will be honoured with a Platinum Award for this
recording that achieved sales of two million despite a general downturn
in the singles
market.

Other artists who will be present to receive Platinum awards
include Scottish group Texas; French singer Helena Segara; Italian
singer Laura
Pausini; German rock star Westernhagen; and Belgian singer
Axelle Red.

Gerd Gebhardt, Chairman of IFPI Germany and of IFPI's
Communications Committee said: "The Platinum Europe Award is the
pre-eminent music industry
sales award for the European music market.
The range of talent
from different European countries participating in this year's event
demonstrates the
vitality and diversity of music in Europe. It also shows the
growing strength of local repertoire. It is specially gratifying to have
Jean Michel Jarre
return as host of this event."

Karlheinz Kögel, Founder and Chairman of Music Control said:
"Music Control has worked with IFPI in many countries worldwide to
provide the
music industry with reliable data and innovative reporting
methods. We are delighted to be sponsoring this event in recognition of
our long
association."

The Platinum Award ceremony will take place in
Brussels in the presence of leading European politicians and senior
European Commission
officials.

Launched by IFPI in Brussels in 1996, Platinum Europe is a
celebration of the creativity and variety of European music. The
European music market is
valued at 12.1 billion Euros and European repertoire accounts
for approximately one third of the global music retail market.

The Award underlines the importance of an industry that
employs, directly or indirectly, around 600,000 people across the
continent.

Europe's most successful artists achieved 87 million or
multi-million selling albums in 2001, taking the number of recordings
honoured with the IFPI
Platinum Europe Award to a six-year high. Around 60% of
platinum-qualifying albums carried music by European artists, while
Award winners came from 14
countries around the world.

The dominance of European artists in Europe has steadily
increased in the last six years. European artists have maintained a
share of 60% or more of
all Platinum albums since the launch of the IFPI Platinum Award
in 1996.

Music Control tracks music broadcast on more than 700 radio
and TV services worldwide using a unique fingerprint recognition
technology. Music
Control is part of the Media Control Group, Europe's leading
music monitors for over 20 years.

Jean-Michel Jarre: 'Our senses have changed, even though our emotions have not'

Nervous mutterings about the death of the music industry may be
premature, but the age of the CD is almost certainly coming to an end.
Vinyl, with its tactile glamour, provided its own ritual, from the
excitement of placing the needle on the groove to studying the cover
artwork in detail. CDs merely perform the function of holding music, and
now iPods can do that so much better. The future, if Jean-Michel Jarre
is to be believed, lies in a new technology that allows a return to the
vinyl experience of pure listening.

"I always dreamed, when I
started writing music, to find a way of immersing yourself in it," says
Jarre, who has just made the world's first record in 5.1, a five-speaker
surround-sound system that has so far only been used for movies. Jarre
has taken some of his most famous tracks, Equinox and Oxygène among
them, and re-recorded them for Aero, the album that he claims he has
been waiting his entire life to make. "This is not a technological trip
but a physical experience, which is what music is. It is sensual, or
sexual even, and music has the ability to let you create your own movie.
Stereo could never give justice to this experience. Now you can be in
the heart of the sound."

Jarre's Paris pied-à-terre, in a very
smart block under the shadow of the Eiffel Tower, seems designed with
the sole purpose of providing an environment for this experience. Apart
from a bust of Beethoven that was commissioned by Hitler and stolen by
the French Resistance en route to Berlin, there are no ornaments in the
living room. A row of plastic chairs, surrounded by five speakers, faces
a large plasma screen. We take our seats and let Jarre's music assail
our senses while the screen holds an image of his girlfriend's eyes,
which were filmed in real time as she listened to the album.

"Our
senses have changed, even though our emotions have not," says Jarre, who
looks remarkably young for a man who has been making music since the
1960s; perhaps an electronic image of his deteriorating face is locked
deep in some computer vault. "At the beginning of the 20th century,
people were crying in front of silent movies, but if Ridley Scott made a
black-and-white silent movie now, he wouldn't find a distributor. So
the evolution of our senses is dictated by technology, and during the CD
era, we lost our emotional link with music. CDs are not as good as
vinyl, and you buy one in the supermarket along with the yoghurt. When I
was a kid, an album was something. Finally we can return to the sensual
warmth of vinyl with 5.1."

Jarre insists that the technology is
only a means to an end, although the technology meant that everything
had to be re-learnt. "When you make your first album you are a virgin,
and you dream, for the rest of your life, of going back to that purity,"
he says. "With this I was a virgin again because everything was new and
nobody had done it before. Soon I'm doing the first concert in 5.1, in
Beijing in China, in front of the Forbidden City and near Tiananmen
Square. This is an experiment and we do not know how it will work. It is
a virgin concert."

Jarre can trace his musical awakening to
seeing a performance of Stravinksy's The Rite of Spring at the Théatre
de Champs Elysées when he was a child. "This is where Stravinsky created
it in 1913, and it was a huge shock. I also saw the last concert by the
great Arabic singer Om Khalsoum. She is the goddess, the Maria Callas
of the Orient. Then I heard Georgia on My Mind by Ray Charles, and I
realised that music can talk to your tummy. I was so impressed by the
organic sensuality coming from Ray Charles's music - there was no
intellectual process and it was great."

Another big influence was
Pierre Schaffer, the Parisian grandfather of electronic music and the
inventor of musique concrète . "He was the first guy to say that music
is made not only of notes but also of sounds, so you can record the
sound of anything - the rain, footsteps - and turn it into music. Now
every band is using musique concrète. That is what samples are. Pierre
Schaffer, who was my master, began this line of a very influential
style." Further down this line are Underworld, a key electronic band of
the rave era and Jarre's favourite of recent years. "They should be
admired for creating a live experience with electronic music," he says.
"Watching people sit behind laptops for two hours is the least sexy
experience in the entire world, so I look to opera for inspiration. I
use the tools of my generation - lights, electronics - to follow the
opera tradition, and Underworld did that too. The musicians are not on
show: it is the experience that counts. The performer is only one aspect
among other media."

Jarre, it seems, was a raver before his time,
hijacking an unlikely venue, projecting films on the walls and making
the light show as important as the music. What he is hoping for now is a
shot in the arm from the new technology for a new generation. "I really
love Orbital and the Aphex Twin, and they share the same spirit as me.
We will see people like this moving out of the CD era and exploring the
possibilities of 5.1. The record industry is not in trouble because
people are less interested by music, but because music has been sold as
if it were washing-up powder: something functional and disposable.
Piracy is not the problem; that is merely a product of the way the
industry has gone. We need to move into a new age, in which music can
perform the deeper functions that it once did again."

THE LINES of a building, the slope of a hill, the outline of a skyscraper or
the visual impression of the horizon are transformed into ever-expanding
soundscapes in New Age composer Jean Michel Jarre's music.

In his first appearances in Greece ever, scheduled for June 19 and 20 at
the Irodion Theatre, the French wizard of synthesized music will
present the international premiere of Hymn to the Acropolis, as well as
a selection of older favourites "re-orchestrated for the occasion".

Synthesisers, choirs, lights, video and internet-connected computers have been
recruited for the purposes of Jarre's Acropolis composition, a futuristic
suite of sorts that aims to reflect the philosophy and art of ancient Greece.

At a recent press conference Jarre referred to the work as "an artistic,
poetic tribute to the Acropolis with the sets adapted to the architecture of
the Irodion".

"Graphics and architecture are complementary to the music," he explained,
underlining his intention to link "the respect of tradition and the past with
technology and modernity".

"I don't want to make a historical or national statement. Instead, I've tried
to come up with a poetic, emotional approach to the site," Jarre told the
press, who had gathered at the Eleftherios Venizelos airport on June 14, the
day of his arrival.

Organised by the Friends of Children with Cancer Society - Elpida,
Jarre's two sold-out charity concerts fall within the framework of the Greek
Festival. Proceeds will go towards the first oncological hospital for children
in Greece and the campaign for the return of the Parthenon Marbles.

The June 20 concert - to be broadcast live in France - marks the opening of
France's Fete de la Musique, Jarre said, adding that the June 18 dress
rehearsal will be attended free of charge by children and students of music
schools and conservatories.

Jarre, an Ambassador of Goodwill for Unesco since 1995, is a firm supporter of
the return of the Parthenon Marbles to Greece. "I do everything I can through
my work to promote this cause," he said.

A New Age/electronica pioneer, along with Brian Eno and Ruichi Sakamoto, Jarre
made his breakthrough in 1969 with The Cage. His music has influenced
many a subsequent act including New Order, Orbital, the Orb and OMD.

His groundbreaking Oxygene (1976), bridging the gap between rock and
classical music, caused a stir. Known for his spectacular audiovisual shows
and his knack for atmosphere, rhythm and melody, the million-selling performer
hasn't lost his touch for rejuvenation.

The Twelve Dreams of the Sun, his 12-hour Millennium show in Egypt, and
his 1990 Paris performance Paris- La Defense,A City in Concertattended by a Guinness record 2.5 million-strong audience have made history.

Christmas wish is the ideal way to pray for love and peace for all.
Wishes can be given to anyone, whether you know a person or not. It is
the way to share your feelings and happiness with all those whom you
come across on this sacred occasion. You never know; you might make a
lonely person smile because of your Christmas wish. The idea of
Christmas wishes can go a long way in maintaining relationships and
creating a bond that can only become stronger with time. Christmas
wishes come in many different forms but have one single essence - To
spread peace﻿ and happiness on this sacred occasion.
Love, Peace and Joy came down on earth on Christmas day to make you
happy and cheerful. May Christmas spread cheer in your lives!
May all﻿ your days be merry and bright and may your Christmas be white!
Merry Christmas! May your world be filled with warmth and good cheer this Holy season,
and throughout the year! Wish your Christmas be filled with peace and
love. MERRY CHRISTMAS! John 3:16
For God so loved the world, that he gave his only begotten Son, that
whosoever believeth in him should not perish, but have everlasting life.

These videos are faithful to the biblical account, with scripts based on
the King James Version of the Bible. The text also accompanies each
video scene.For the purpose of helping more people understand and
appreciate the matchless life of Jesus Christ, the Son of God and Savior
of the world.I Hope that you will feel free to share these video with family and friends the world over.An Angel Foretells Christ's Birth to MaryLuke 1:26-38Mary and Elisabeth Rejoice TogetherLuke 1:39-55Mary and Joseph Travel to BethlehemLuke 2:4-7Shepherds Learn of the Birth of ChristLuke 2:8-18The Wise Men Seek JesusMatthew 2:1-2, 11-15

The total number of page views

Jean Michel Jarre first came to international fame with his number one hit album, « OXYGENE » which went on to sell over 18 million copies worldwide.

A pioneer in his field, Jarre has largely contributed to the fastest growing musical revolution of the 20th century, electronic music : conceiving music in terms of sounds rather than only in terms of notes, and thus allowing the composer to become his own craftsman.

Having followed formal studies of harmony and counterpoint at the Conservatoire de Paris, he was inspired to reinvent music at its core, with his own singular vision, deploying the technology and tools of his epoch.

This pioneering approach gave birth to worldwide hit albums such as "OXYGENE","EQUINOXE", MAGNETIC FIELDS", "ZOOLOOK", "RENDEZVOUS", "WAITING FOR COUSTEAU"...over 80 million albums sold to date.

Following through with his revolution in music, he also conceived a brand-new genre and format of concerts; breaking away from the traditional theatre and arena context, Jarre brought his music and vision outdoors to the masses. Often free and open-to-all, these stateof- the-art concert-spectaculars showcase the natural or urban environment in which they are performed -- a truly singular sonic and visual "land-art" event, conceived and performed on a unique scale for a one-off experience.

Jarre's legendary concerts have attracted Guinness Record-breaking audiences across the planet. They take place in exceptional settings, marking extra-ordinary contexts: first western musician invited to perform in post-Mao Red China, Millennium at the Great Pyramids of Egypt, Houston City concert in collaboration with NASA in memory of the Challenger space crew, Concert for His Holiness Pope John Paul II, France's Eiffel Tower in celebration of World Cup victory, Gdansk's shipyard at the initiative of Nobel Peace Laureate Lech Walesa, London's Docklands, Beijing's Forbidden City and Tiananmen Square, the Sahara Desert...to the absolute record live audience of 3.5 million in Moscow.

Most recently, Jean Michel Jarre embarked on his first ever world tour which has already taken him to over 30 countries with over 220 performances.

July 2011, HSH Prince Albert II of Monaco called upon Jean Michel Jarre to celebrate his Royal Wedding by creating and performing a concert-event in the Principality which was largely broadcast on television & Internet worldwide to an estimated audience of 3 billion.

The French musician has a dedicated ongoing engagement to the United Nations via UNESCO, as Ambassador and spokesperson for Environment and Education.